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Lou Reed's fantastic early solo LP – melding the aloof, plaintive vocal performance style he perfected with the Velvets and unbelievable sharp songwriting with the vamped up, fuzzed out guitars of Mick Ronson, some symphonic touches, and the guiding spirit of Ziggy Stardust era Bowie. This is a record that could have failed on any number of levels, but it's works perfectly, making Lou an unlikely rock star and setting the bar pretty, pretty high, even if the makeup was a bit much for Lou! Titles include the iconic "Take A Walk On The Wild Side", "Vicious", "Andy's Chest", "Perfect Day", "Hangin Round", "Make Up", the Ziggy like "Satellite Of Love""Wagon Wheel", "I'm So Free" and more. This CD edition includes the previously unreleased bonus acoustic demo versions of "Hangin Round" and "Perfect Day".

Lou Reed's fantastic early solo LP – melding the aloof, plaintive vocal performance style he perfected with the Velvets and unbelievable sharp songwriting with the vamped up, fuzzed out guitars of Mick Ronson, some symphonic touches, and the guiding spirit of Ziggy Stardust era Bowie. This is a record that could have failed on any number of levels, but it worked perfectly, making Lou an unlikely rock star and setting the bar pretty, pretty high, even if the makeup was a bit much for Lou! Titles include the iconic "Take A Walk On The Wild Side", "Vicious", "Andy's Chest", "Perfect Day", "Hangin Round", "Make Up", the Ziggy like "Satellite Of Love""Wagon Wheel", "I'm So Free" and more.

Lou Reed's fantastic early solo LP – melding the aloof, plaintive vocal performance style he perfected with the Velvets and unbelievable sharp songwriting with the vamped up, fuzzed out guitars of Mick Ronson, some symphonic touches, and the guiding spirit of Ziggy Stardust era Bowie. This is a record that could have failed on any number of levels, but it worked perfectly, making Lou an unlikely rock star and setting the bar pretty, pretty high, even if the makeup was a bit much for Lou! Titles include the iconic "Take A Walk On The Wild Side", "Vicious", "Andy's Chest", "Perfect Day", "Hangin Round", "Make Up", the Ziggy like "Satellite Of Love""Wagon Wheel", "I'm So Free" and more.

The second album from Mombasa – and possibly even better than the first! The group have really come into their own by the time of this date – mixing together jazz and African roots with a sound that's unlike anyone else we can think of – quite unique in its approach to rhythms, sounds, and solos! The grooves aren't really the Afro Funk you might expect – and instead, they're based on a headier brew of basslines and percussion, one that's somewhere in a space between Boscoe, The Pharoahs, and Demon Fuzz – but with a sound that's ultimately different than both. The trombone of Lou Blackburn carries the lead on most tracks – snaking out wonderfully over the grooves, with a quality that's amazingly soulful, and which almost has him standing head to head with Fred Wesley as a 70s innovator on his instrument. Other members of the group include Doug Lucas on trumpet, Bob Reed on percussion, Alan Tatham on drums, and Don Ridgeway on electric bass – the last of whom really does a great job shaping the sound of the tunes. Titles include "Yenyeri", "Holz II", "Nomoli", "African Hustle", and "Al Rahman".

The end of the road for the Velvets – but also one of the group's longest-lasting legacies! The sound is tighter than on earlier albums, with a bit more of a somber post-fix approach to rock and roll – one that really points towards the direction Lou Reed would take in his own work, but which also really benefits a lot from the work of the rest of the group. Titles include the classics "Sweet Jane" and "Rock & Roll", plus "Cool It Down", "New Age", "Head Held High", "Lonesome Cowboy Bill", "Oh Sweet Nuthin", and "I Found A Reason".

Delicate dissonance, bruised beauty, and hazy noise pop – all in one of the best rock albums ever made – the amazing first album from the Velvet Underground and Nico! The album's the stuff of legend – and for good reason, too – a surprising slab of vinyl that barely set the world on its ear when first issued back in the mid 60s – yet a record that's gone onto have an influence felt for decades to come – arguably one of the most important rock records of all time. There's a really sinister edge to the record, even when things are sweet – and the range of subject matter and handling here is brilliant – from the dream pop slice of heaven "Sunday Morning", the melodic bitterness of "Femme Fatale", the massive White Light-esque freakout "European Son", and the sublime "Heroin" – quite possibly the inspiration for generations of drug use to come. The whole thing's a classic – with wonderful vocals from both Nico and Lou Reed – and titles include "Venus In Furs", "Run Run Run", "Black Angel's Death Song", "I'll Be Your Mirror", and "All Tomorrow's Parties".

Delicate dissonance, bruised beauty, and hazy noise pop – all in one of the best rock albums ever made – the amazing first album from the Velvet Underground and Nico! The album's the stuff of legend – and for good reason, too – a surprising slab of vinyl that barely set the world on its ear when first issued back in the mid 60s – yet a record that's gone onto have an influence felt for decades to come – arguably one of the most important rock records of all time. There's a really sinister edge to the record, even when things are sweet – and the range of subject matter and handling here is brilliant – from the dream pop slice of heaven "Sunday Morning", the melodic bitterness of "Femme Fatale", the massive White Light-esque freakout "European Son", and the sublime "Heroin" – quite possibly the inspiration for generations of drug use to come. The whole thing's a classic – with wonderful vocals from both Nico and Lou Reed – and titles include "Venus In Furs", "Run Run Run", "Black Angel's Death Song", "I'll Be Your Mirror", and "All Tomorrow's Parties". 2CD versions features 9 tracks from Scepter Studios sessions from 1966, 6 tracks from Factory Rehearsals in 1966, the stereo version of the album, and 5 alternate versions that include "All Tomorrow's Parties (alt single voice version)", "Heroin (alt version)", "European Son (alt version)", "I'll Be Your Mirror (alt mix)", and "All Tomorrow's Parties (alt inst mix)".

Delicate dissonance, bruised beauty, and hazy noise pop – all in one of the best rock albums ever made – the amazing first album from the Velvet Underground and Nico! The album's the stuff of legend – and for good reason, too – a surprising slab of vinyl that barely set the world on its ear when first issued back in the mid 60s – yet a record that's gone onto have an influence felt for decades to come – arguably one of the most important rock records of all time. There's a really sinister edge to the record, even when things are sweet – and the range of subject matter and handling here is brilliant – from the dream pop slice of heaven "Sunday Morning", the melodic bitterness of "Femme Fatale", the massive White Light-esque freakout "European Son", and the sublime "Heroin" – quite possibly the inspiration for generations of drug use to come. The whole thing's a classic – with wonderful vocals from both Nico and Lou Reed – and titles include "Venus In Furs", "Run Run Run", "Black Angel's Death Song", "I'll Be Your Mirror", and "All Tomorrow's Parties".

Music that no home should be without – presented here in a lavish package, with rare mono mixes too! The set's a wonderful way to get these early gems from Lou Reed, Nico, and The Velvet Underground – and the box set features the first three Velvet Underground albums for Verve, plus Nico's legendary Chelsea Girl debut, and the sublime unreleased 1969 album – filled with tracks that appeared elsewhere later ("Ocean", "Foggy Notion", "I Can't Stand It", "Rock & Roll", "Ride Into The Sun", "Lisa Says", and "I'm Sticking With You") – presented here as they were originally intended for record! The box features all original artwork, and heavy Sundazed vinyl with great remastering – with two bonus posters too.

Iggy's second solo LP proper, and a strange morass of junkie desperation and gutteral white punk funk – a conscious decision to move away from the guitar roar of the Stooges era and closer to the sounds his longtime champion David Bowie was experimenting with at the time, with a little bit of Lou Reed for good measure – but make no mistakes, this is Iggy's show. It's as fascinating as it is impressive on a more visceral level, heavy bass rhythms and keys intergral to the sound, and weary latenight storytelling that trips you out on contact. All tunes co-written by Bowie, who would go on to make a lot of money off "China Girl" a few years into the 80s when the world was more ready for it, plus the classic "Nightclubbing", "Sister Midnight", "Baby", "Dum, Dum Boys", "Tiny Girls" and "Mass Production".

Two MPS gems from this unusual 70s ensemble – back to back on the same CD! Chasin The Bird features classic bop modes, updated strongly for the 70s – and played by a hip group of older players who really know how to cook! Supersax is led by Med Flory on alto, who also did the arrangements – and works here with great reed help from Warne Marsh and Jay Migliori on tenor, Joe Lopes on alto, and Jack Nimitz on baritone – plus soaring sounds from Conte Candoli and Blue Mitchell on trumpets, Frank Rosolino on trombone, and Lou Levy on piano – all of whom really help the reed players find their groove! Charts are large, as is the ensemble, but there's a nice sense of individual personalities too – even when all the saxophonists are taking a solo together at once. Titles include "Shaw Nuff", "Drifting On A Reed", "Oop Bop Sh'Bam", "Now's The Time", and "The Song Is You". Dynamite is a looser, more free-swinging album than usual for Supersax – one that still has the group working with some key contributions from west coast jazz luminaries, but in a vibe that's almost more small combo than larger ensemble! The tracks here include a fair bit of Bud Powell and Charlie Parker numbers, but the arrangements are mighty fresh – open, and swinging with some hipper 70s touches, thanks to rhythms from a trio that features Lou Levy on piano, Fred Atwood on bass, and John Dentz on drums – players that are never locked into a strict bop mode. As with other Supersax albums, there's a brace of reed players working together at the front – Lanny Morgan on alto, Jack Nimitz on baritone, and both Jay Migliori and Don Menza on tenors – coming together as one voice on the solos, and getting some key help from Conte Candoli on trumpet and Frank Rosolino on trombone. Titles include "The Fruit", "Bambu", "Blues For Alice", "Tempus Fugit", "Parker's Mood", and a surprising, but great take on Antonio Carlos Jobim's "Wave".

A much-needed anthology of solo material from VU drummer Moe Tucker – also the singer and one woman band on many of the best recordings here – a massive set that also includes recordings with Velvets cohorts Lou Reed, John Cale and Sterling Morrison, out rock eccentrics Jad Fair and Daniel Johnston, Sonic Youth's Kim Gordon, Thurston Moore and Lee Renaldo, Jonathan Richman and others! The majority of the material comes from independent and self-released records that Moe made from the early 80s to mid 90s – a fascinating wealth of songs that explore the proto rock primitivism that was such an indispensable facet of her style of drumming, along with excellent art rock collaborations with fellow outcast geniuses, Moe's loving, but skewed take on classic girl group songs and more. We learned some things about Moe Tucker we didn't know before this set. Thanks to Sundazed for such a solid statement on the great legacy of her later years! Includes "Bo Diddley", a wooly version of "Heroin", "Hey Mersh!", "Andy", "Pale Blue Eyes", "Lazy", "Then He Kissed Me", "I'm Waiting For The Man", "Spam Again (Live)", "I've Seen Into Your Soul", "Poor Little Fool", "I Wanna", "Last Night I Said Goodbye To My Friend" (previously unissued), "After Hours", "I’m Not", "Blue All The Way To Canada", "Slippin' And Slidin'", "Around And Around" and more. 28 tracks on the 3LP version.

A swingin' Japanese concert by one of Cannonball's best groups from the 60's. Joe Zawinul's on piano, brother Nat's on cornet, Sam Jones is on bass, and Louis Hayes is on drums. But the real treat here is Yusef Lateef, who does some excellent reed work on tenor, flute, and oboe – and who's playing at this point with that great mix of soul jazz and out-sounds that he was cooking up at the time. There's some great long cuts, including an excellent 12 minute reading of Lateef's "Brother John", plus the title track, "Come Sunday", "Tengo Tango", "Easy To Love" and "The Weaver".

A nice set from these latter day Detroit free music explorers, with a spiritual vibe and a varied approach to improvisation that isn't afraid to groove at moments, but also involves some nice textural dynamic playing in a very post AACM mode. Anthony Holland plays reeds, Tani Tabal tablas and trap drums and Spencer Barefield a variety of guitars. 3 lengthy pieces and 1 shorter one: "Inbetween Song", "Roscoe Mitchell – Clouds Taking Pictures Of Birds", the 6-part "Transdimensional Space Window Suite" and "Dawudaphone Dance".

The title sounds like an old R&B song from the 50s, but the album's a searing collaboration between three of the boldest improvisers in 70s European jazz – Peter Brotzmann on reeds, Harry Miller on bass, and Louis Moholo on drums! Although Miller and Moholo can have warmer moments when working in British Ogun modes, they're definitely well-matched here with the young Brotzmann's energy – very freewheeling on both of their instruments, and rising to Peter's challenge to find new sounds at just about every twist and turn of the record! Titles include "Long Time Service", "Kucken und Drucken", "Schnell Im Biss", and "The Nearer The Bone The Sweeter The Meat".

Johnny's first LP for Columbia! His terse, spare Sun style is still in evidence here with a slightly more crisp and polished sound, but no less powerful thanks to that famous wobbly baritone. Johnny would soon start stretching out good and wide thanks to the full creative freedom Columbia provided, but you get nothing but the taught, rock solid early style here. Tracks include "One More Ride", "The Troubadour", "Pickin' Time", "Suppertime", "That's Enough", and "I Still Miss Someone".

Killer CTI work from Joe Farrell – with grooves so sharp you could cut your trousers on them! Farrell's angular reed style is in perfect form here – grooving with a small group that includes Herbie Hancock on piano, Joe Beck on guitar, Steve Gadd on drums, and Don Alias on percussion – a combo that's got a harder, tighter feel than most CTI groups – a key reason why Joe's records of this time are so legendary! The album features a fantastic version of Stevie Wonder's "Too High" – one that breaks all over the beginning with these riffs by Farrell, then grooves into a CTI electric funk mode for about 13 minutes. All tracks are long – and other tracks include "Hurricane Jane", "Geo Blue", "Penny Arcade", and "Cloud Cream".

A pair of 60s gems – together on a single CD! First up is the original Jazz Goes Baroque from George Gruntz – one of the best blends of jazz and classical music we can think of! Sure, the tunes are from Corelli, Handel, Pachelbel, and other baroque composers – but they're taken to hip jazzy territory here in the hands of pianist George Gruntz – who plays some mighty cool electric harpsichord on the set! The sound's more like a 60s soundtrack swing than any staid sort of longhair classics – thanks in part to great work from Klaus Doldinger on soprano sax, and Emil Mangelsdorff on flute – plus swinging rhythms from the team of Peter Trunk on bass and Klaus Weiss on drums. The horns bring in a sense of depth and soul to the record that's missing from other dates of this nature – especially trio sets, like those of Jacques Loussier – and titles include "Corrente", "Pavana", "Gavotte En Rondeau", "Le Croc En Jambe", and "Musette En Rondeau". Jazz Goes Baroque Vol 2 is a wonderful follow-up to George Gruntz's first album of baroque jazz grooves from the 60s – one that focuses on melodies from Italian composers – recast here by Gruntz with some very swinging styles! The roots may be classical, but the end result is pretty darn groovy all the way through – in a space between mod 60s soundtracks and some of the more lyrical jazz on the European scene – with some especially great reed work from Leo Wright, Sahib Shihab, and Raymond Guiot! George Gruntz plays this extra-cool electric harpsichord – which further enforces a 60s vibe – and rhythms are from Peter Trunk on bass and Daniel Humair on drums. Tracks include "Sarabande", "Aria", "Lamento D'Arianna", "Allegro", and "Danza Danza Faniculla".

The classic debut from one of the weirdest concept groups of the 60s – a mime rock band brought together by producer Lew Futterman – who'd also worked on some killer funky jazzy sessions with Brother Jack McDuff! The style here is psychedelic pop through and through – and although the group didn't speak, they do sing (is that really mime?) – and work in a groovy sing-song blend of reeds and rockish rhythms, one that definitely has some of the same sharp changes and funky undercurrents you'd find in Futterman's jazz projects – although honed down here into much shorter Sunshine tunes! The album's a very unique little record – and oddly the group flourished for years. But somehow this first record has a charm that's really undeniable – and is maybe still their best effort ever. Titles include "White Winged Doves","Dream Of Tomorrow", "Pray For Rain", "How Does It Feel To Be Free", "I Ride To Nowhere", "Come & See Me", and "Jelly Jam".

Arista Freedom release of 2 different sessions by Julius Hemphill – one from 1975, with Arthur Blythe, Hamiet Bluiett, and Abdul Wadud; the other from 1972, with Bluiett, Wadud, and Baikida Carroll. The 1972 session's a bit more interesting, and was recorded in St. Louis by Oliver Sain (of all people!). It's one long track entitled "The Hard Blues", and has an excellent mix of styles, emotions, and voices – with all the players getting in some beautiful solo moments. The 1975 session's not too bad either, but it's just a little too self-consciously out, and lacks the warmth of the other piece.

A seminal session from the St Louis scene of the early 70s – one that was humming nearly as much as Chicago was with the AACM at the time! As with the larger organization in the Windy City, St Louis had the Black Artists Group – of which Julius Hemphill was a key member, forming fresh new ideas in improvisatory jazz with players who went onto have an undeniable impact on the global scene as well. This album's one of the standout recordings of the Black Artists era at its best – a record produced by Hemphill, but equally balanced between his own alto and flute, the trumpet of Baikida Carroll, cello of Abdul Wadud, and drums of Phillip Wilson – plus a bit of added baritone from Haimet Bluiett. The rhythms are quite open, but there's also a nice sense of structure to the record too – a bridge between spiritual and free jazz that prefaces the impact that both Hemphill and Bluiett would have on the New York loft jazz generation. Titles include "Dogon AD", "Rites", and "The Painter". Great reissue too – in a gatefold LP-styled cover, with bonus insert notes, including the artwork from the original 1972 pressing on Hemphill's Mbari label! CD also features a bonus track – "Hard Blues" from Hemphill's Coon Business album!

Back to back jazz soundtracks – the cream of the crop of the early 60s! First up is The Hustler – a killer jazz score from Kenyon Hopkins – a composer we can almost always trust to turn around a killer jass score! The work is mostly in a jazz ensemble mode – and moves between swinging segments, and sadder ones – those beautifully blue passages that Hopkins did so well in the early 60s – full of emotion, but in a really subtle, mature sort of way that also marked a shift in American cinema too – quite a change from the overblown emotion of a decade before, both in the music and on screen. Players include Phil Woods, Jerome Richardson, and Phil Bodner on reeds; Joe Wilder on trumpet, Jimmy Cleveland on trombone, Hank Jones on piano, and Barry Galbraith on guitar – and titles include "Derby Time", "Dining Out", "Fast Buck", "Small Time Charlie", "The Loser", and "Minnesota Fats". Paris Blues is a moody introspective score, written for a 1961 film that starred Paul Newman as a frustrated jazz musician living in Paris. The "Paris Blues" theme is a dark, somber composition that is supposedly Newman's masterpiece as a jazz writer – and it works beautifully with the film's themes of frustration and unfulfilled desire. Ellington's at his best here, and apart from the main theme, the score also has great versions of classics like "Mood Indigo" and "Take The A Train", plus originals like "Nite", "Wild Man Moore", "Guitar Amour", and "Paris Stairs". Also features Louis Armstrong on one track! CD also features 7 more tracks from The Long Hot Summer – a more traditional score penned by Alex North, and featuring a title song by Jimmie Rodgers.

The rare second album from Juju – the avant jazz collective who'd later morph into funk band Oneness Of Juju, but who still sound pretty revolutionary here! There's a bit more focus than before – still energy that's a lot like the best righteous jazz groups coming out of Chicago or St Louis at the same time, but maybe a bit more direct, too – and really showing some of the stronger spiritual tones that would only blossom more strongly in later years! Reedman Plunky Nakabinde is firmly at the helm of the group – on tenor, flute, and soprano sax – but the set also features great work from Lon Moshe on vibes and percussion, Babatunde on congas and drums, Phil Branch on bass, and Al-Hammond Raul on piano and percussion. The sounds are a bit less Afro-styled than on the Oneness records, but still have all the great spiritual currents – and titles include an excellent version of Pharoah Sanders' "Black Unity", plus the original tunes "Contradiction","Nia", "Black Experience", and "The End Of The Butterfly King". Features two bonus tracks – "Live Revolution" and "Live Revolution Continues".

One of the grooviest albums ever recorded by guitarist Barney Kessel – a sweet reworking of Henry Mancini's fabulous music for Breakfast At Tiffanys! The set's got a warm feel and more than a bit of bossa nova inspiration – similar to some of the other Kessel and Shorty Rogers projects for Reprise at the time – and the group features some wicked reed work from Bud Shank and Paul Horn, both of whom add some great color to the set – and make it way more than just another trio date from Kessel! The whole thing's wonderful – filled with favorites from the Mancini songbook – titles that include "Something For Cat", "Sally's Tomato", "Mr Yunioshi", "The Big Blowout", "Hub Caps & Tail Lights", "Breakfast At Tiffany's", "Latin Golightly", "Loose Caboose", and "Moon River Cha Cha".

A killer trio set, with lots of excellent reed work from Eddie Shu!

Reedman Oliver Lake at his most creative – stepping out here on a sublime set of 70s improvisations – all put together with a really spiritual feel! There's a very open, collaborative feel to the music – and the set was recorded in St Louis, at a time when Lake was a key part of that city's scene – and who here also seems able to attract some other musicians from the AACM in Chicago as well! As a result, the album's a wonderful document of the new ideas bursting forth at the start of the 70s – that richly creative moment when local scenes were coming together in various cities to find new ways of jazz beyond Coltrane and Dolphy – giving a player like Lake some of the most imaginative outlets of his career. Oliver plays alto, soprano, flute, and other small instruments – and other players include Baikida Carroll and Floyd Leflore on trumpets, Joseph Bowie on trombone, John Hicks on piano, Clovis Bordeaux on electric piano, Don Officer on bass, Charles Bobo Shaw on drums, and Don Moye on congas too. Titles include "Africa", "Tse Lane", "Eriee", "Zip", and "Electric Freedom".

Reedman Oliver Lake at his most creative – stepping out here on a sublime set of 70s improvisations – all put together with a really spiritual feel! There's a very open, collaborative feel to the music – and the set was recorded in St Louis, at a time when Lake was a key part of that city's scene – and who here also seems able to attract some other musicians from the AACM in Chicago as well! As a result, the album's a wonderful document of the new ideas bursting forth at the start of the 70s – that richly creative moment when local scenes were coming together in various cities to find new ways of jazz beyond Coltrane and Dolphy – giving a player like Lake some of the most imaginative outlets of his career. Oliver plays alto, soprano, flute, and other small instruments – and other players include Baikida Carroll and Floyd Leflore on trumpets, Joseph Bowie on trombone, John Hicks on piano, Clovis Bordeaux on electric piano, Don Officer on bass, Charles Bobo Shaw on drums, and Don Moye on congas too. Titles include "Africa", "Tse Lane", "Eriee", "Zip", and "Electric Freedom".

With Les McCann on piano and vocals, Houston Person on tenor, Bobby Bryant on tenor and soprano sax, Lou Volpe on guitar, and Richard Malcolm on percussion. Produced by Creed Taylor – with cuts that include "The Longer You Wait", "Hold My Hand", "Volkswagen Blues", and "Road Warriors".

A smashing set of work from drummer Louis Moholo – a set that shows that after all these years, he's still a richly creative talent on his instrument! The album has Louis duetting with pianist Alexander Hawkins – a younger player who'd caught his ear a few years before, and who turns out to be a perfect partner for the record – graced with just the right kind of free-thinking, yet spiritual elements as Moholo's own music – able to stretch out strongly with a lot of freedom, yet never lose sight of the overarching goal! The tracks are all long and open – and almost recall some of the interplay between Moholo and Chris McGregor in years back – especially some of the freer work on the 70s London scene. The album's a beautiful extension of the Ogun Records tradition – and titles include "Lakutshon Ilanga", "Hear Our Hearts", "Heavy Manners", "Amaxesha Osizi", "If I Should Lose You", "Pure Vision", and "Catch You On The Rebound".

An incredibly spiritual session from percussionist Louis Moholo and his ensemble Viva La Black – recorded on the occasion of a series of concerts in Moholo's homeland of South Africa – and done in a way that's as much a document of the group's trip as it is a recording of the music in the concerts. Many of the tracks are shorter passages that flow together with longer ones – piecing together the warm spirit and soulful expression allowed to the group during the tour. And the music itself shares in a heritage that runs back through the 60s work of Mingus and Roland Kirk, the 70s experiments of the AACM, and the rich jazz-in-exile work of Moholo himself! Instrumentation includes percussion, trumpet, saxes, piano, and bass – plus vocals from all the members of the group – and titles include "Use Less Sugar & Stir Like Hell", "Volunteered Slavery", "Woza", "Nikosi", "End Of Man", "Dudu P", "I'll Look All Over Afrika For You", "Drum Choir", and "Joyful Noise".

The long-awaited return of The Pyramids – easily one of the hippest spiritual jazz ensembles of the 70s! This new recording has all the earthy brilliance of the group's classics – with leadership from reedman Idris Ackamoor, who's continued a dedication to righteous sounds on his own during the past few decades – which means he's hardly coming out of retirement here, just re-focusing his ongoing energy towards the classic Pyramids sound! Instrumentation is heavy on percussion and organic elements – and the tunes do a great job of blending freewheeling performance with more focused grooves – an Afro-avant mode that really lives up to the group's legacy, carried off here by players who include Kenneth Nash on drums and percussion, Kimathi Asante on bass, Kash Killion on bass and cello, Bradie Speller on congas and electronics. Titles include "Memory Ritual", "Time Capsule", "What The World Needs Now", "Nebulosity", "Otherworldly", "Boundless Eternities", "Cloud Rider", "Uttering Sacred Words", and "They Came From Chicago".

A full three albums by the legendary Pyramids – all packaged together in one complete set, with a bonus video too! The Pyramids recorded three key records during the 70s – each of them an underground classic, all served up in a wonderful bit of spiritual soul jazz with a really cosmic feel! The group are heavy on percussion and reeds – blending congas and assorted other percussion instruments with soprano sax, alto, and flute – all in a captivating sound that builds up nicely over the course of the album's two long tracks! The music is very organic – never too forced, nor never too far out – and there's a majestic quality to the whole thing, one that really lives up to the group's name and image on the cover. And although the ensemble hail from Ohio – hardly a spot you'd peg for spiritual jazz in the 70s – they're a key link between the early 70s avant movements in Chicago and St Louis, some of the hip grooves in Detroit's Tribe Records scene, and the growing loft jazz movement in New York. The reeds are especially nice – alto sax from Idris Ackamoor and flute from Margo Ackamoor – and all other group members play percussion, and vocalize too – singing along with some of the tunes in chanting, chorus formation, which adds an even further element of soul to the mix. Includes the full albums Lalibela, King Of Kings, and Birth Speed Merging – with bonus video content of The Pyramids Live On KQED in 1975.

One of Shorty Rogers' greatest records – and a very nice set of tight west coast arrangements that really shows off the Rogers sense of sparkle and swing – a vibe that definitely comes through in the famous cover image too! Shorty wrote nearly all of the tracks, and the writing's a great example of the good side of the west coast style – when the tightness of arranging is used to bring out the best elements in the players, and bend them around in some nice twists and turns, with good solos, and lots of nice little surprising bits. And in this case, the players are all great – with Jimmy Giuffre and Bud Shank on reeds, Pete Candoli and Don Fagerquist on trumpets, and Lou Levy on piano. Titles include "Lotus Bud", "Martians Come Back", "Chant Of The Cosmos", and "Astral Alley".

Blue Note Now – and Blue Note Then – a cool little set that mixes contemporary grooves from the Blue Note catalog with some of the older gems that made the label great back in the 50s, 60s, and 70s! In truth, some of the contemporary cuts go back more than a few years – but come together nicely on CD1, to show the way the label's really grown in the past decade or two – moving into great soulful territory with tracks like "Little B's Poem" by Quasimode, "Freedom Dance" by Lionel Loueke, "It's All Over Your Body" by Jose James, "Black Radio" by Robert Glasper Experiment, "Soin Something" by Soulive, and "Time After Time" by Cassandra Wilson. CD2 features loads of older killers – including "Feel Like Makin Love" by Marlena Shaw, "Harlem River Drive" by Bobbi Humphrey, "Kathy" by Horace Silver, "Adams Apple" by Wayne Shorter, "Afrodisia" by Kenny Dorham, "Black Byrd" by Donald Byrd, and "Speedball" by Lee Morgan.

A funk and soul treasure trove – wicked rare work from the legendary Brunswick label – most of it only issued on 45s back in the 60s and early 70s, and not reissued on CD! The package is a stunner – a real surprise that shows us there's plenty to dig for at Brunswick when you get past the hits – some wonderful Windy City soul from the late 60s, and gritty New York cuts that balance things out nicely too – and which definitely show a harder-edged side of Brunswick than you'd guess from the label's better-known tracks. There's some great obscurities here – the kind of cuts that we'd normally only find on rare 45s – like "It's Gonna Be Good" by Johnny Jones & The King Casuals, "Baby It's Time" by Marshall & The Chi-Lites, "Just A Little Misunderstanding" by Johnny Williams, "You Are" by Bobby Reed, "I Want Something To Remember You By" by Marvin Smith, "How Can You Say Goodbye" by Sidney Joe Qualls, "Once You Fall In Love" by Eddie McLoyd, "Karate Boogaloo" by The Emperors, and "Talk A Little Louder" by Wales Wallace – plus rare Brunswick material by folks you'd normally associate with other labels – like "Sweet Temptation" by Isaac Hayes, "Easy Evil" by Walter Jackson, "Since You've Been Gone" by Major Lance, and "Try Some Of Mine" by Little Richard.

An insane compilation of obscure heavy rockers – put together by Julian Cope, but quite different than any of the music recorded under his own name! Cope's had a reputation as a great record collector for years – and here, he really gets to show his stuff – by bringing together not only some mindblowing gems from the 60s underground, but also some even more incredible tracks from recent years – very heavy-duty nuggets that we somehow missed the first time around, but which sound plenty comfortable next to the fuzzy freaky older tracks in the package! The notes are quite detailed – showing that Cope's chosen cuts carefully, just just mashed together a bunch of noise – although we can also say that if you dig noisy guitars, the set's got plenty of them too. Titles include "The Temple" by Haare, "Tio Minueter" by Parson Sound, "Fall" by Cold Sun, "King Of The Streets" by Armand Schaubroeck, "Electro Rock" by Simply Saucer, "Stranded In Ashland" by The New Lou Reeds, "Baptism Bar Blues" by Vibracathedral Orchestra, "Return To Heaven" by Comets On Fire, and Internationalhymne" by AR & Machines.

Revolutionary jazz from the era of the Civil Rights Movement and beyond – soulful and spiritual jazz as important as any of the era – an impeccably well chosen compilation of Freedom, Rhythm & Sound from Soul Jazz Records! The set is a tie-in with Soul Jazz's essential Freedom, Rhythm & Sound book – documenting the sounds and providing an aural portrait of a fertile creative period in African American music and cultural history – when the societal struggles were a counterpart to the heretofore unseen depth of creativity and empowerment in jazz music. Includes a nice booklet of notes, and songs from both the independent underground, and some that made it onto established labels like Verve and others, and material by Joe Henderson, Archie Shepp, Errol Parker, Mary Lou Williams, Art Ensemble Of Chicago, Horace Tapscott, Sun Ra and many more. 23 pivotal tracks on 2CDs, many running on the longer side, for a straight up incredible set of spiritual soul jazz: includes "Africa" by Oliver Lake/NTU, "Space A Nova" by Stanton Davis' Ghetto/Mysticism, "Miss DD" by Mary Lou Williams, "Old Time Religion" by Art Ensemble Of Chicago, "Drinking Song" by Gary Bartz NTU Troop, "Attica Blues" by Archie Shepp, "Peyote Song No III" by Horace Tapscott & Pan Afrikan Peoples Arkestra, "Freedom Time" by Pharoahs, "Black Survival" by Roy Brooks & Artistic Truth and more.

Revolutionary jazz from the era of the Civil Rights Movement and beyond – soulful and spiritual jazz as important as any of the era – an impeccably well chosen compilation of Freedom, Rhythm & Sound from Soul Jazz Records! The set is a tie-in with Soul Jazz's essential Freedom, Rhythm & Sound book – documenting the sounds and providing an aural portrait of a fertile creative period in African American music and cultural history – when the societal struggles were a counterpart to the heretofore unseen depth of creativity and empowerment in jazz music. Includes a nice booklet of notes, and songs from both the independent underground, and some that made it onto established labels like Verve and others, and material by Joe Henderson, Archie Shepp, Errol Parker, Mary Lou Williams, Art Ensemble Of Chicago, Horace Tapscott, Sun Ra and many more. Volume 1 of the vinyl version has 10 tracks on 2LPs, many running on the longer side, for a straight up incredible set of spiritual soul jazz: includes "Africa" by Oliver Lake/NTU, "Space A Nova" by Stanton Davis' Ghetto/Mysticism, "Miss DD" by Mary Lou Williams, "Old Time Religion" by Art Ensemble Of Chicago, "Drinking Song" by Gary Bartz NTU Troop and more.

One of our favorite all-time records, and a real lost album on Blue Note! Eddie Gale leads this group of righteous singers and musicians through five fantastic tracks of soulful chanting and hard jazz playing that never goes too far out, but always threatens to break free of its own chains – soaring to the skies on wings of freedom and spirituality! Gale's trumpet rings hard and loud, and the vocal arrangements never verge on sentimentality, but manage to convey a ton of soul with an incredibly righteous approach that's never been duplicated again! Imagine Donald Byrd's vocal group albums recorded for Strata East – or a hipper version of Billy Harper's Capra Black – and you've only got part of the picture! Titles include "The Rain", "Fulton Street", "The Comign Of Gwilu", and "A Walk With Thee".

One of the most far-reaching sets of UK jazz we've heard from the mid 60s – the recording debut of pianist Peter Lemer, working here in a quintet that also features a young John Surman! The leadoff track is a version of Carla Bley's great "Ictus" – and the style of the work definitely echoes that early 60s generation that Bley was a part of – a darker, more angular approach to modernism than previous years – yet still without the completely unbridled freedoms to come. Most titles are fairly elliptical – circling around a specific territory of tones and rhythms at the core, while some of the other players open up in freer solos – and other players in the group include Nisar Ahmad Khan on tenor, Tony Reeves on bass, and John Hiseman on drums. Surman plays baritone, soprano sax, and bass clarinet – and titles include "Carmen", "In The Out", "Enahenado", "Flowville", "City", and "Ictus".

For some odd reason, the Collectables label chose to release albums by two different artists on one CD. We should be mad at them for that, but we can't get that angry, since we're extremely happy to have this Jimmy Giuffre album back in print again! Travelin' Light is one of Giuffre's best albums of all time, and the record is a perfect realization of his piano-less/bass-less trio style. The group is simply Bob Brookmeyer on trombone, Jim Hall on guitar, and Giuffre on reeds – and the sound is amazing! Notes hang in mid-air, slowly sliding around one another, flying freely from the players, yet still managing to swing in a beautiful way. The titles are a mix of standards and originals – but all tracks sound completely unique, with a sound unlike anything else we can describe. Cuts include "Swamp People", "Lonely Time", "Green Country", and "Travelin Light". The Mabel Mercer album? Consider it a bonus!

Rare work by Cannonball – recorded live in Europe in the early 60s, and only ever issued there until the release of this CD in the US! The set features live material performed by Cannon's amazing group that included Joe Zawinul on piano, Yusef Lateef on reeds, Nat Adderley on cornet, and the rhythm section of Sam Jones and Louis Hayes – all grooving together perfectly for the set, with a fluid mix of hardbop, soul jazz, and slight exotic traces that are completely sublime! Titles include "P Bouk", "Gemini", "Work Song", "Trouble In Mind" and "Dizzy's Business".

"Expanse" is a mighty big name for the group that David Boykin uses on this record – especially given that the combo's only a quintet – but that's ok with us, because the sound here is more than large enough to warrant the name! Boykin's working with a great batch of players from the Chicago scene here – including frequent musical partner Nicole Mitchell on flute, sliding wonderfully alongside David's saxophones – plus Jim Baker on piano, Josh Abrams on bass, and Mike Reed on drums. The album features two longish tracks, both composed by Boykin with a vision that's freely expressive, yet never too free – a perfect balance that reigns things in wonderfully, and which shows him to be one of the key current heirs to a Chicago tradition that runs back to the early AACM and Sun Ra! Titles include "Nuance" and "47th Street Ghost".

Surprisingly wonderful work from Kenny! The album has Kenny's guitar set to arrangements by Gil Evans – who gives the session a modern edge that really sets it apart from other Burrell albums of the time. Kenny's freed to do his thing – wonderfully, we might add – and Gil paints these washes of sound, color, and tone with the help of hip players like Johnny Coles, Louis Mucci, Julius Watkins, Steve Lacy, Richie Kamuca, Elvin Jones, and Lee Konitz. Tracks include "Lotus Land", "Downstairs", "Moon & Sand", "Terrace Theme", "Greensleeves", and "Loie".

One of the most revelatory albums ever cut by reedman James Clay – a player who's often lumped into the "hard blowing" camp because of his Texas roots, but one who emerges here with a great deal of sensitivity and imagination! The record features Clay playing both tenor and flute – clearly a "double dose of soul" – and on the latter instrument, he's got a really wonderful style that's a bit like Yusef Lateef, still hardbop and swinging, but touched with a sense of exoticism that really makes for a unique sound to the record. And even on tenor, Clay's got a looser, more introspective sound here – one that catches the mood set by the rest of the group – with Victor Feldman on vibes, Gene Harris on piano, Sam Jones on bass, and Louis Hayes on drums – plus a bit of extra cornet from Nat Adderley on a few tracks. The album has a good modal feel in parts, and a stronger soul jazz groove in others – and it's one of the great sets put together as part of the "Cannonball Presents" series for Riverside in the early 60s. Tracks include "Lost Tears", "Pockets", "New Delhi", and "Linda Serene".

Seminal work from British reedman Elton Dean – two classic Ogun albums back to back on a single CD! First up is Happy Daze – a set that's got a lot more complicated class than you might expect from the title – really wonderful large ensemble arrangements penned by Dean, and definitely in the spirit that he claimed made the group the heir to Keith Tippett's previous group of the late 60s! The music here is all nicely inside, and pretty darn soulful – swinging and stepping with a bit more of a groove than some of the other Ogun Records work of the time – really back to that hip point at the end of the 60s, when British jazz groups stretched out in their spirit, but never got too avant in their style – a perfect blend that Dean really recreates here, with help from players who include Alan Skidmore on tenor, Harry Beckett on trumpet, Mark Charig on trumpet and tenor horn, Nick Evans and Radu Malfatti on trombones, Keith Tippett on piano, Harry Miller on bass, and Louis Moholo on drums. Titles include "Nicrotto", "Seven For Lee", "Sweet FA", and "Three For All". On Oh For The Edge, there's definitely an edge to the music – but one that's a bit different than that of some of Elton Dean's contemporaries in the 70s British scene! Dean brings a lot more swing and soul to this record than you might expect – working with a large group, but never letting the players get totally outside – which is a real change from some of the more freely improvising UK ensembles of the period. Dean's own work on alto and saxello are totally great – as are the core rhythms of the group, which come from Keith Tippett on piano, Harry Miller on bass, and Louis Moholo on drums. But we're also plenty happy to hear Alan Skidmore on tenor, Harry Beckett and Mark Charig on trumpets, and Nick Evans on trombone. The recording has a very good "roomy" sound to it that gives it a darker edge than some of the other Ogun recordings from the time – and tracks include "Fall In Free", "Dance", "Friday Night Blues", and "Prayer For Jesus".

A psychedelic gem recorded at Gold Star Studios at the end of the 60s – one that brings a fair bit of British influences into play with the trippier sounds of the American underground of the time! This Atlantic debut by the group shows a tremendous amount of promise – and an approach to the music that sometimes takes on loftier ambitions through its use of bit of brass and reeds amidst the core keyboards, guitar, bass, and drums of the tunes. The songs are tight and sharp, but have some nice flourishes too – almost in the later Chad & Jeremy mode, with a real "British through LA" sort of sound. Titles include "RCMPB", "Don't", "Have You Ever", "To Be", "Sunrise #7", "Sparkle", and "Just Try".

Way more than the cheapo fad record you might guess from the title – thanks to some wonderfully soulful tenor from Joe Houston! The setting's almost more Latin than limbo – a mode that really works perfectly with Houston's horn – driving the big-toned sound strongly right up from the bottom – and letting Joe have some nice freedom to stretch out with solos over the top! Given that Houston was already mixing Chicano elements with his R&B groove in the 50s, the approach is a natural – as you'll hear on "Limbo Organ", "Limbo Lou", "Out On A Limbo", "La La Limbo", "Limbo Stick", and "Rockin The Limbo".

A brilliant collaboration between vibist Bobby Hutcherson and reedman Harold Land – the first Blue Note album to feature the talents of the pair together, and a stone classic from the very first note! Hutcherson had already been making big waves for the label with his earlier sides – some avant, some soulful, all great – but adding Land's magical tenor and flute to the mix really opens his sound up a lot, and unlocks a lyrical quality in Bobby's music that really points the way to his flourishing years in the 70s! Yet all is not totally sweet – as both Land and Hutcherson maintain an edginess on the record that makes it more of a progression from the "new thing" years than a break – and pianist Chick Corea is on hand, moving through a very similar path in his own music too. Other players include Reggie Johnson on bass and Joe Chambers on drums – and the tracks are nice and long, with that free-wheeling soulful sound that Land seemed to nicely bring to Hutcherson's playing. Titles include "Herzog", "Same Shame", "Maxtrix", "Total Eclipse", and "Pompeian".

A brilliant collaboration between vibist Bobby Hutcherson and reedman Harold Land – the first Blue Note album to feature the talents of the pair together, and a stone classic from the very first note! Hutcherson had already been making big waves for the label with his earlier sides – some avant, some soulful, all great – but adding Land's magical tenor and flute to the mix really opens his sound up a lot, and unlocks a lyrical quality in Bobby's music that really points the way to his flourishing years in the 70s! Yet all is not totally sweet – as both Land and Hutcherson maintain an edginess on the record that makes it more of a progression from the "new thing" years than a break – and pianist Chick Corea is on hand, moving through a very similar path in his own music too. Other players include Reggie Johnson on bass and Joe Chambers on drums – and the tracks are nice and long, with that free-wheeling soulful sound that Land seemed to nicely bring to Hutcherson's playing. Titles include "Herzog", "Same Shame", "Maxtrix", "Total Eclipse", and "Pompeian".

A killer collection of work from one of the funkiest Japanese groups of the early 70s – billed as jazz rock in the title, but with a much deeper sound overall! Reedman Jiro Inagaki definitely comes from jazz roots, but has also picked up plenty of trippy touches from the late 60s too – fuzzy guitar, sweet keyboards, and an especially strong ear for the kind of heavy drums that folks like Lou Donaldson were using to push their instrumental work into a whole new dimension! The group here is often largeish, but still has the punch of a smaller funky combo – and the set brings together some of the most soulful albums from Jiro's rare Japanese-only albums – titles that include "The Ground For Peace", "Snap Shot", "Papa's Got A Brand New Bag", "Twenty One", "Breeze", "Painted Paradise", "Sniper's Snooze", and "Express".

Steve Lacy's legendary Argentinean recording – one of his boldest moments of the early years, and the start of a long history of superb work away from the American scene! The group here is quite unusual – as players include Enrico Rava on trumpet, Johnny Dyani on bass, and Louis Moholo on drums – one budding European improviser, and two key members of the Blue Notes – who'd left South Africa for the UK by the time of this release. The live performance features only two long tracks – "Forest" and "Zoo" – both played with a sense of freedom not heard before in Lacy's music, at a level that really points the way towards his explosive presence in the French and Italian scenes in years to come!

A mighty great album from reedman Joe Lovano – one of his greatest records in years, and proof that he's still got plenty of fire – when given the chance to burn! The group here is wonderful – and half the tracks feature bass work from Esperanza Spaulding, reminding us that she's still quite rooted in jazz – working alongside James Weideman on piano, Otis Brown III on drums, and Francisco Mela on additional percussion and balafon. Peter Shaw plays bass on the other half of tracks on the set – but the real surprise is Lovano – who's not only mindblowing on tenor, but also plays other reed instruments and percussion as well helping push things towards the cross cultural elements promised in the title. These are served up especially well on the few cuts that feature Lionel Loueke on guitar – and titles include "Drum Chant", "Blessings In May", "Myths & Legends", "In A Spin", "Star Crossed Lovers", and "Journey Within".

Marvelous work from Mostly Other People Do The Killing – and a record that's quite different from its cheesy looking cover! The quartet never fail to amaze us with their creative energy – and this time around, they're paying homage to that moment in 80s jazz when the underground was brimming up in the mainstream – that great point when creative musicians were finding wider exposure on labels like Columbia, Novus, or Blue Note – yet still serving up sounds that were true to their roots. The cheesy packaging is a nod to the visual aesthetics of the time – and the music is a great contrast, which was not uncommon for the period – lots of sharp reeds from Jon Irabagon, percolatedly soulful trumpet riffs from Peter Evans, snapping percussion from Kevin Shea, and these warm, round, deep lines on acoustic bass from Moppa Elliott – who also wrote and produced the set. Titles include "Sayre", "President Polk", "Can't Tell Shipp From Shohola", "Hearts Content", "Jersey Shore", and "Dexter, Wayne, & Mobley".

Marvelous work from Mostly Other People Do The Killing – and a record that's quite different from its cheesy looking cover! The quartet never fail to amaze us with their creative energy – and this time around, they're paying homage to that moment in 80s jazz when the underground was brimming up in the mainstream – that great point when creative musicians were finding wider exposure on labels like Columbia, Novus, or Blue Note – yet still serving up sounds that were true to their roots. The cheesy packaging is a nod to the visual aesthetics of the time – and the music is a great contrast, which was not uncommon for the period – lots of sharp reeds from Jon Irabagon, percolatedly soulful trumpet riffs from Peter Evans, snapping percussion from Kevin Shea, and these warm, round, deep lines on acoustic bass from Moppa Elliott – who also wrote and produced the set. Titles include "Sayre", "President Polk", "Can't Tell Shipp From Shohola", "Hearts Content", "Jersey Shore", and "Dexter, Wayne, & Mobley".

A legendary album from Chicago – recorded by a group with ties to Sun Ra, Phil Cohran, and Earth Wind & Fire! The set's got a sound that more than lives up to all those references – a vibe that's jazzy and soulful, yet often quite righteous too – imbued with the sort of spirit you'd guess from the group's name and the album's cover image – but often served up with a tight enough groove to make the set a favorite for fans of funk as well! There's a really special mix going on here – and unlike other ensembles of the time, The Pharoahs never go too far out – and instead really have the great sort of focus you'd hear even more strongly with Earth Wind & Fire. The lineup features Louis Satterfield on bass, Willie Woods on trombone, Don Myrick on saxes, Black Herman on drums, and Derf Reklaw on percussion and flute – and titles include "Ibo", "Somebody's Been Sleeping", "Damballa", "Freedom Road", "Great House", and "Black Enuff".

Beautiful work from reed player Tony Scott – recorded during a time when he was doing a lot of soul-searching with Eastern cultures! The set's a stripped-down batch of long tracks, with Scott's clarinet in the lead, and backing by 2 Japanese musicians on Koto and Shackuhachi. The tracks are shortish, and are designed as platforms for Zen Meditation. Titles include "To Drift Like The Clouds", "Satori", "Za Zen", and "Is Not All One?".

Quite possibly one of the most successful Japanese piano trio recordings of the 70s – a super-session performed by a group that includes Joe Sample on acoustic piano, Ray Brown on bass, and Shelly Manne on drums! Given that Sample's best known during the era for his electric keys with the Crusaders (and on countless studio sessions), it's a real treat to hear him tickle the ivories in an acoustic way – and a genuine surprise to hear how strong his work is in such a format. Joe manages to swing the tunes with plenty of creative improvisation, but also keeps a strong focus on the groove too – making for an album that's got some of the rhythmic flourishes of the best work of the Oscar Peterson trio in later years, but with some of the added freedoms of the Japanese scene. Titles include "On Green Dolphin Street", "Round Midnight", "Funky Blues", "Manha Do Carnaval", "Yearnin", and "Satin Doll".

An incredible album that has Cleanhead moving way past his usual bag! Sure, he's normally known as an R&B vocalist and alto player, but here, in one of those great Riverside "Cannonball Adderley Presents" sessions, Vinson gets into a whole new bag on some cuts. He's playing with Cannonball's group of Nat, Joe Zawinul, Sam Jones, and Louis Hayes – and there's one track in particular that's amazing – "Arriving Soon", an instrumental that has Vinson soaring on alto, wailing with an almost Coltrane-esque level of freedom. It's a killer modal track, and is worth the price of the album alone. There's another instrumental called "Vinsonology", plus vocal numbers like "Hold It", "This Time", and "Kidney Stew" – all with a nice groovy Adderley quintet kind of groove.

Beautifully spiritual jazz from the post-Coltrane generation – a wealth of righteous grooves from the early 70s – brought together in one mighty collection! If you dig the work of Pharoah Sanders, Alice Coltrane, and other giants on Impulse Records, this is a great way to dig even deeper – and hear the way their late 60s legacy inspired other musicians to new heights in their own music – sounds that hit a new level of freedom in jazz, yet which are still filled with enough swing and soul to avoid some of the more avant modes of the free jazz scene! If that description sounds a bit obtuse, then just plug into the collection, and let the music do its thing – as it's got a very powerful vibe throughout – the kind of inspirational, socially conscious work that flourished best during the 70s – and which is finally getting its due all these many years later. The package is new territory for Ace/BGP, but they've done a great job as usual – picking key tracks from the era, and coming up with detailed notes on each of the long tracks. Titles include "Free Angela" by Bayete, "Bridge Into The New Age" by Azar Lawrence, "Tress Cun De O La" by Joe Henderson, "Ebony Queen" by McCoy Tyner, "Peace" by Idris Muhammad, "Mother Of The Future" by Norman Connors, "Brown Warm & Wintry" by Jack DeJohnette, "I've Known Rivers" by Gary Bartz, and "Fire" by Joe Henderson & Alice Coltrane.

One of the hippest, deepest collections of European jazz we've ever heard – a really wonderful set that opens up a whole new side of the French scene of the 60s, 70s, and 80s – filled with music that we've never heard before! Unlike other sets of this nature, which focus on American players overseas – this one is filled with homegrown talent, often working in styles that echo the spiritual and modal sounds of the US underground of the post-Coltrane years – very rich in feeling and righteous in message – freely expressive, but never going too far out to lose their groove! We know some artists here, but not from these recordings – and others are pulled from the kind of totally obscure French albums you'd only find after years of digging around in Paris flea markets. Titles include "Colchiques" by Eddy Louiss, "Doorstep" by Octet De Dreux, "Notes So High" by Stella Levitt, "Ricardo" by Michel Roques, "La Musique D'Orphee" by Chene Noir, "Le Musichien" by Francois Tusques, "Creole Girl" by Noah Howard, "Israel Suite" by Rupture, and "Lido" by Les Prospections.

Johnny's first LP for Columbia! His terse, spare Sun style is still in evidence here with a slightly more crisp and polished sound, but no less powerful thanks to that famous wobbly baritone. Johnny would soon start stretching out good and wide thanks to the full creative freedom Columbia provided, but you get nothing but the taught, rock solid early style here. Tracks include "One More Ride", "The Troubadour", "Pickin' Time", "Suppertime", "That's Enough", and "I Still Miss Someone".

One of our favorite all-time records, and a real lost album on Blue Note! Eddie Gale leads this group of righteous singers and musicians through five fantastic tracks of soulful chanting and hard jazz playing that never goes too far out, but always threatens to break free of its own chains – soaring to the skies on wings of freedom and spirituality! Gale's trumpet rings hard and loud, and the vocal arrangements never verge on sentimentality, but manage to convey a ton of soul with an incredibly righteous approach that's never been duplicated again! Imagine Donald Byrd's vocal group albums recorded for Strata East – or a hipper version of Billy Harper's Capra Black – and you've only got part of the picture! Titles include "The Rain", "Fulton Street", "The Coming Of Gwilu", and "A Walk With Thee".

Complex grooves from guitarist Lionel Loueke – and a set that may well be his best so far, thanks to key help from Robert Glasper! Glasper co-produced the set, and also plays piano and Fender Rhodes as well – often with those great blocky rhythms we love so much in his own music – a style that really helps to re-shape Loueke's guitar lines, and give his music a whole new sort of vocals! Two tracks feature cool vocals from Gretchen Parlato – whose airy style is a great match for the spots in which Loueke sings as well – and titles include "Tribal Dance", "Freedom Dance", "Chardon", "Hope", "Goree", and "Bayyinah".

Heavy funk from our friends at Colemine – great stuff from Cali combo Monophonics plus a different, but just as great psych funk styled cut by Destruments! "Like Yesterday" is solid as can be, a hard-hitting number with walloping drums, punchy horns, and powerhouse vocals – a track that starts out like it's going to slow cookin' jam highlighted by bluesy soul guitar, but it heats up quickly! "Freedom" by Destruments is an atmospheric gem that's not too easy to describe – which is a good thing! The beat and rhythm are stable, with densely atmospheric horns and spacey flourishes. A cool split single that demonstrates the far-reaching creative capabilities of the contemporary funk scene!

The long-awaited return of The Pyramids – easily one of the hippest spiritual jazz ensembles of the 70s! This new recording has all the earthy brilliance of the group's classics – with leadership from reedman Idris Ackamoor, who's continued a dedication to righteous sounds on his own during the past few decades – which means he's hardly coming out of retirement here, just re-focusing his ongoing energy towards the classic Pyramids sound! Instrumentation is heavy on percussion and organic elements – and the tunes do a great job of blending freewheeling performance with more focused grooves – an Afro-avant mode that really lives up to the group's legacy, carried off here by players who include Kenneth Nash on drums and percussion, Kimathi Asante on bass, Kash Killion on bass and cello, Bradie Speller on congas and electronics. Titles include "Memory Ritual", "Time Capsule", "What The World Needs Now", "Nebulosity", "Otherworldly", "Boundless Eternities", "Cloud Rider", "Uttering Sacred Words", and "They Came From Chicago".

One of the most revelatory albums ever cut by reedman James Clay – a player who's often lumped into the "hard blowing" camp because of his Texas roots, but one who emerges here with a great deal of sensitivity and imagination! The record features Clay playing both tenor and flute – clearly a "double dose of soul" – and on the latter instrument, he's got a really wonderful style that's a bit like Yusef Lateef, still hardbop and swinging, but touched with a sense of exoticism that really makes for a unique sound to the record. And even on tenor, Clay's got a looser, more introspective sound here – one that catches the mood set by the rest of the group – with Victor Feldman on vibes, Gene Harris on piano, Sam Jones on bass, and Louis Hayes on drums – plus a bit of extra cornet from Nat Adderley on a few tracks. The album has a good modal feel in parts, and a stronger soul jazz groove in others – and it's one of the great sets put together as part of the "Cannonball Presents" series for Riverside in the early 60s. Tracks include "Lost Tears", "Pockets", "New Delhi", and "Linda Serene". CD also features 2 bonus tracks!

Lost later work from this important Swedish jazz combo – and material that definitely stands strongly alongside their classics from the 70s! The session here is an important one – as it features key guest work from Kenny Wheeler on trumpet and flugelhorn, and Billy Hart on drums – working alongside the core trio of Lennart Aberg on saxes, Bobo Stenson on piano, and Anders Jormin on bass. Aberg's reeds are a delight – full of searching soulfulness that really helps the album find its path – and Stenson's piano lines have these evocative, gently poetic qualities that bring a strong spirit to the gentler numbers. The whole thing's got a feel that's almost post-ECM – an awareness of that generation, but more of a return to jazz – as you'll hear on titles that include "Lisas Piano", "Green Piece", "Gentle Piece", "Dr Time", and "Blue For Lou".

One of the greatest moments ever from bassist Miroslav Vitous – a very cool album recorded for the trippy Vortex label! The lineup here has Miroslav working with key help from the American underground – piano from Herbie Hancock, tenor from Joe Henderson, and drums from Jack DeJohnette – plus added guitar from John McLaughlin, who seems to have the same spacey sensibilities as Vitous! Henderson really opens up too – in that fluid style of his post-Blue Note work on Milestone – and obviously Herbie's a great one for a set like this too – hitting some of the spiritual modes of his Warner work. Some tracks are nice and long – and titles include "Freedom Jazz Dance", "Infinite Search", "I Will Tell Him On You", "Mountain In the Cloudes", and "Epilogue". This Japanese CD edition includes the bonus track "Cerecka".

One of the hippest, deepest collections of European jazz we've ever heard – a really wonderful set that opens up a whole new side of the French scene of the 60s, 70s, and 80s – filled with music that we've never heard before! Unlike other sets of this nature, which focus on American players overseas – this one is filled with homegrown talent, often working in styles that echo the spiritual and modal sounds of the US underground of the post-Coltrane years – very rich in feeling and righteous in message – freely expressive, but never going too far out to lose their groove! We know some artists here, but not from these recordings – and others are pulled from the kind of totally obscure French albums you'd only find after years of digging around in Paris flea markets. Titles include "Colchiques" by Eddy Louiss, "Doorstep" by Octet De Dreux, "Notes So High" by Stella Levitt, "Ricardo" by Michel Roques, "La Musique D'Orphee" by Chene Noir, "Le Musichien" by Francois Tusques, "Creole Girl" by Noah Howard, "Israel Suite" by Rupture, and "Lido" by Les Prospections.

Killer CTI work from Joe Farrell – with grooves so sharp you could cut your trousers on them! Farrell's angular reed style is in perfect form here – grooving with a small group that includes Herbie Hancock on piano, Joe Beck on guitar, Steve Gadd on drums, and Don Alias on percussion – a combo that's got a harder, tighter feel than most CTI groups – a key reason why Joe's records of this time are so legendary! The album features a fantastic version of Stevie Wonder's "Too High" – one that breaks all over the beginning with these riffs by Farrell, then grooves into a CTI electric funk mode for about 13 minutes. All tracks are long – and other tracks include "Hurricane Jane", "Geo Blue", "Penny Arcade", and "Cloud Cream".